Project Kalinda Funded by MacArthur Grant TAE CENTER for Black Music Research has Afro-Latin and Afro-Caribbean acquisitions received a grant in the amount of $112,460 for the CBMR Library and Archives, public from the John D. and Catherine T. MacArthur exhibition of project-related materials, Foundation. The funds, to be provided over production and distribution of Kalinda! two years, will support Project Kalinda, newsletter, and augmentation of the Center's including lecture-demonstrations and program staff. performances of Ensemble Kalinda Chicago,

Ensemble Kalinda True to Spirit of Latin American Beat

[JANUARY 27,19951 The debut of a serious and scholarly musical ensemble does not typically inspire cheering, shouting and whistling from the audience.

But Ensemble Kalinda Chicago, which made its bow Thursday night in the Getz Theater, on East 1 lth Street, is anything but typical. Its eight players specialize in neglected works of the Caribbean and Latin America, from Cuban dances to traditional Brazilian song-forms to Puerto Rican ceremonial pieces.

The great appeal of this ensemble, however, lies not so much in the novelty of its repertory as in the authenticity of its performances. Consistently, Ensemble Kalinda honors the stylistic requirements and historical demands of the music while dispatching it with a freshness and a spirit that one might sooner expect to hear from an indigenous street band.

Little wonder, then, that Ensemble Kalinda Chicago seduced general listeners and connoisseurs alike during Thursday night's

(Reprint courtesy of the Chicago Tribune)

Ensemble Kolinda Chicago. Seated (lefr m righrJ Paulo Garcia. Carlor Eguis-Aguila. Sfnnding (Iefl lo righr): Edwin S6nche~ JosC Smingo. Luiz Ewerling, Henry Solgodo, Kenny Anderson. Mik Rivera

show. The feat seemed all the more impressive considering the band has been in existence less than half a year and has given only a couple of preliminary performances leading up to Thursday's official debut.

L i e the Black Music Repertory Ensemble, Ensemble Kalinda is a venture of the Center for Black Music Research, a nationally noted institution based at Columbia College, Chicago. But while the Black (continued on 3)

2 S P R I N O 95

Toward Community: Project Kalindu, Its Purpose and Goals

BY S m A. FLOYD JR. audience with a working knowledge of Latin- DIRECTOR, CBMR American, Caribbean, and African-American

musics and their connections. It is the

k p d o f THIS SECOND ISSUE of Kalinda! follows two as&mption of the project that the programs very successful programs designed to foster created and sponsored by Project Kaliuda will

cW'req- n o s i d d m intimate musical and intellectual ties among build such an audience, which will be well Latino, West Indian, and African-American prepared for future and larger events of Project' communities in Chicago. The first, entitled Kalinda. "From the Mandinga to the Mambo: African This publication, Kalinda!, serves as Rhythms in Latin Music," was held on another means of fostering the goals of the September 24 at the Columbia College Dance project, containing as it does articles that Center. The second was a January concert in provide information about the African roots of which our Ensemble Kalinda Chicago present-day Latino and West Indian musics. appeared jointly with Sones de M6xico The CBMR hopes thereby to facilitate the Ensemble and Son del Barrio. Recognizing understanding of contemporary manifestations that the pursuit of our goal requires musical, of African-based musics through howledge cultural, and intellectual interactions that build and familiarity with the historical manifests- mutual respect, effective communication, and tions of the and distinctive elements lasting relationships, we think the September of varieties of musics of the Americas. and January events were a signifcant step in We take this opportunity to thank all who the right direction. have attended and participated in our events. Building an audience And we ask that you continue to support our Another goal of Project Kalinda is to build an effort by spreading the news about the audience for its cultural activities-a diverse activities of Project Kalinda.

I A ~. -

y* represent one more effort toward celebrating this rich and valuable heritage.

Music is the most universal of all languages. Througb it we can experience how much we

MIXVIN m E Z really have in common. Project Kalinda is a Assistant Director, Center for Latino Research window of opportunity for both Latin Ameri- DePuul University cans and African Americans to appreciate their

PROJECT KALINDA'S efforts to develop common heritage through music.

scholarship pertinent to the African music of . . the Americas will serve to illustrate how EVARETO RODRIGUEZ

I African peoples and their cultures have Segundo Ruiz Belvis Cultural Center

persevered in the face of physical and cultural PROJECT KALINDA opens the discussion on genocide over the past five hundred years. the issue of black music, which is badly needed %le racial repression throughout most of the in our community. The project will create unity Americas has prevented the recognition of and, in a sense, a common identity in the Amer- African cultural influences, this project will icas and the rest of the world. (continued on 3)

Music Repertory Ensemble specializes in music by black composers, Ensemble Kalinda explores specifically Latin contributions to the black musical canon.

In other words, because African slaves were taken not only to North America but to sites throughout Latin America and the Carib- bean. unique Afro-Latin and Afro-Cuban music sprang up in these regions. Ensemble Kalinda's mission is to revive these musical traditions and to show their links to such Afro-American idioms as jazz, blues, gospel and so forth.

The links were apparent even in this premier performance, whether in the gently

evening's works or in the specific rhythmic :I motifs and riffs that defined particular works. i rrLpum!

Sure the four-square, pre-swing meter of A . A*

"Las alturas de Simpson," a tum-of-the-century , . Cuban dance piece, bore obvious similarities to the pre-swing march forms of tum-of-the- century New Orleans. And the five-note rhythmic motif that defined "Loreta," a merengue from the Dominican Republic, suggested a close relationship to the ostinatos

~ ~

of music from African antiquity. The evening also included sirong

performances by Sones de Mexico Ensemble and Son del Barrio.

Voices (continuedfmm 2)

TSEHAYE HEBERT President of the Board African American Arts Alliance

TaANg YOU for thinking of us as you progress with Project Kalinda The work of the Advisory Committee and the Center for Black Music Research is vastly important to the ongoing scholarship in black music. We wish you much continued success!

TIFFANI FRAZIER Chicago, Illinois

1 JUST GOT the Kalink' newsletter and it's really great and extremely important. As an African American, I used to think (when I was

a kid) that although Latin Americans, African Americans, and Caribbean blacks might share some commonalities, we were extremely distinct populations that really didn't mix in any significant way. I now know much better-from school and working politically with people of these communities.

ROBERTO A. NODAL Shorewood Wisconsin

I HAVE JUST received my copy of the Kalinda! newsletter. I fmd it excellently produced, containing absolutely wonderful and fascinating material. Excellent job!!

MPnynegritaS -sKdaR &-to Afikmllirnlm andthewed - thns pm7idilIg i l l a l e hdarmebionabaa Afikml mnsic and dslreastheyeame t o ~ A m e l i e a

THE ikluc.4~ M ~ U E N C E upon the music of numbers in Latin America. As these names most of what is now called Latin America is imply, this type of villancim is special because demonstrated in the negrito, a type of the texts mix Spanish and dialect, with frequent villancico. Its text and music speaks to us in a references to Africa. Many of these villancicos living language about the confrontation and were composed for Christmas, and most assimilation of diverse cultures during the feature such African-derived elements as call- sixteenth and seventeenth centuries. response patterns and intricate osciIlations - -

The Villancico between duple and triple rhythmic groupings.

The term ''villancico" is The negrito grows out derived from the Spanish word for "rustic" and was

of the tradition of cofadfa, or a brotherhood formed to

first applied to poetry of fulfill particular religious the mid-fifteenth century. and benevolent purposes. During the sixteenth Many of these brotherhoods century, the villancico had exclusively black became a favorite song for membership and provided many voices. Its texts the participants an were joyful and frequently referred to Christmas. The

opportunity to socialize and do good works. These

villancicos of this period brotherhoods often put on are usually popular in sty1e and rhythmically colorful pageants for the Christmas and corpus energetic; their musical form often reflects the Christi events that the villancicos marked. poetic structure of their text. Their middle Music played a central role in these religious sections, called coplas, feature contrasts events by highlighting the meaning of the between solo and ensemble passages and particular occasion as well as by giving the thinner textures. One of the best-known members a chance to perform. Because of the villancicos of this type is "Riu, nu, chiu," nature of such confraternities, lively villancicos which comes from the Cancionero de Upsala, rather than complex liturgical polyphony were a collection of songs published in Venice in apropos. 1556. The negrito provides background on the

As in the case of many Spanish cultural membership of these cofradias because of the forms, the villancico quickly became popular spec*c references persons of African in Latin America' the viuancicos of the descent. Some negritos tell of a young black mother country, those of Latin America were man giving a gift to Christ, which leads to a intended for the feasts of Christmas and charming account of the gift's origins or the Corpus Christi. Parades, pageants, or even reason for its presentation. Occasionally, texts dances conferred color and drama on these are nostalgic, implying .that the speaker, celebrations. Increasingly, villancicos were although apparently content with his new

for the feast Of Christmas and were surroundings, has not forgotten the place from entitled "Villancicos de Navidad." By the which he came. Many songs make specific eighteenth century the term villancico almost references to African dances and the use of always implied a Christmas composition. percussion, thus providing invaluable The Negrito information about African music and dance as During the seventeenth century a particular they came to Latin America. type of villancic~variously called negro, The l q e number of negritos found in negrito, guineo, or negrilla-appeared in large Latin American sources implies that Africans

quickly became an important part of Latin ENRIPUE ALBERTO Arias is director of Am Musica American society, a society characterized by Chicago. racial diversity. Because of the high mortality

rate of the Indians, Africans took their places on estates, in mines, and in other work places. Thus, large concentrations of blacks were found as early as the sixteenth century not only in the Caribbean region but also in Mexico, Peru, and Brazil.

Readers who mag be interested in hexing examples of the negrito will find two charming examples on a recent recording by the Boston Camerata entitled Nueva Espaiia: Close Encounters in the New World; 15904690. 'Dame albriqia" by Gaspar Fernandes (c. 1570-1629) begins with the following text:

Dame albrigia mano Anto que Jisu nace en GuSnea. Una lunguya y viejo su pagre son yebarnos le culagion.

(Hear the good news, brother Anthony, that Jesus was born in Guinea of a virgin and old man. Let us bring him something to eat.)

This negrito alternates solo, duet, and full ensemble in rapid fashion. Slower rhythmic values underline the narrative, which is followed by a rhythmically more active duet for the upper parts.

The second negrito on this recording, 'Tar& tarad" Antonio de Salazar (c. 1650-1715). featum short phrases for the two upper voices which move to repeated cadences supported by a bass line. The infectious rhythmic pattern of the opening dominates the piece and highlights the refrain. The text refers to dancing in Puerto Rico and Camemon, implying that specific African dances were common in Latin America by the end of the seventeenth century. The style of this example suggests that the genre is rich in individuality and that composers looked at each negrito as intimately related to its text and the challenges it offered

These two examples show the power of the African influence on the music of colonial Latin America. Above all else, negritos are musically interesting and challenging and deserve to be better known.

Latin and Caribbean Recordings Held at the CBMR Library

General Afica in America. Corason MTCD 11517. African and Afro-American D m . Folkways

FE 4502. The Best of Both Worlds. Rykodisc RCD

30298. Blanco y Negro: Hispanic Songs of the Renaissance fmm the Old and New World.

Klavier KS-450. Caribbean Dances. Folkways FW 6840. Caribbean Folk Music, VO~.-I. Folkways FE

4533. Caribbean Island Music. Nonesuch H-72047. Caribbean Rhythms. Folkways FW 8811. Cohen, Joel, and The Boston Camerata. Nueva

Espaiia: Close Encounters in the New World, 1590-1690. Erato 2292-45977-2.

Gloeden, Everton. The Clnssical Guitar in Lmin America. Inter-American OAS-012.

In Praise of O d and Other Gods: Black Music of South America. Nonesuch H-72036.

Lafin American Choral songs. Inter-American OAS-009.

Leonard de Paur Chorus. D m k , Calinda!/ Latin American Songs/A Choral Concert. Cassette. (continued on 6)

MARCOS S u m , a musician andgraduate of Columbia College, is rhe assisfont libmrian of the CBMR Ubmv.

All rea,*

at the CBMR Library and Archives are available for tistening. A r e q n M r e a , ~ i ¶

retrieved Born

played for the patron in one of two^ earrelswim headphones

Recordings (continuedfrom 5)

Nonnan, Ruth. An Anthology of Piano Music by Black Composers. Opus One 39.

Roberts, John Storm. Black Music of 'liuo Worlds. Folkways FE 4602.

Salsa: Musical Examples. White Cliffs ISBN 0-941677-19-2. Cassette.

Salsa Session WH MCWH 29999 RM. Casseae. Santos, Turbio. Latin-American Classics for Classical Guita,: Musical Heritage Society

MHS 1445. Singers of the National Dance Theatre

Company of Jamaica. TraditionalSongs of

- Z the Caribbean. Inter-American OAS-005.

- The Spirit Cries: Music from the Rainforests of South America and the Caribbean.

I Rykodisc RCD 10250.

Thomas, Michael Tilson. Tangazo: Music of

-. Latin America. Argo 436 737-2. Voices of the Americas. World Music Institute.

Eight-cassette set. Wagner, Roger. Festival of Early Latin

American Music. Eldorado S-1. _. Latin American Musical Treasures from

the 16rh 17rh cadl8th Cenauies Qdnado 2 West Indian Spirituals and Folk Songs. Musical

Heritage Society MHS 1515. a u k . CD accompanying Zouk: World Music in

the West Indies, by Jocelyne Guilbault. Chicago: UniveAy of Chicago Ress, 1993.

Guthrie, Gwen. Gwen Guthrie. Island 90004-1. -. Portrait. Island 90082- 1. Library of Congress. "Dig My Grave," "Round

the Bay of Mexico," 30wline"r'Sail, Gal," "Hallie Rock," "Bimini Gal." LC AAFS

The Real Bahamas, @ham IT. Nomu& H-72078. Religious Songs and Drums in the Bahamas.

Folkways FE 4440. Roberts, John, and Frederick McQueen.

Bahaman Ballads and Rhyming Spirituals. Folkways FS 3847.

Spence, Joseph. The Complete Folkways Recordings, 1958. Folkways CD SF 40066.

-. Folk Guita,: Folkways FS 3847. -. The Spring ofSiay-Five Rounder CD 21 14.

Belize Mr. Peters Boom and Chime. Haul up Your

Foot. You Fool. Fire Ant FACD 1006. _. You Better Belize it! Fire Ant FA 1001.

Cassette. The Spirit Cries: Music from the Rainforests of

South America and the Caribbean. Rykodisc RCD 10250.

Trqiitional Music of the Garifuna (Black Carib) of Belize. Folkways FE 403 1.

Brazil Afro-Brazilian Religious Music. Lyrichord

LLCT 7315. Cassette. Afros e Afoxis da Bahia. Mango 539 893-2. Amaz8nia: Festival and Cult Music of Northern ' Brazil. Lyrichord LYRCD 7300.

M a , John. The Music of Santeria: The Om del lgbodu. White Cliffs Media ISBN O- 941677-22-2. Cassette.

Bkndeng6. Bendengd. Brazilian Popular Music, [seriesnj, vol. 10. cbiinentall.07.405.221.

The Best of the Bossa by Brazil's Best. Monument SLP18074.

BeMnia, Maria Talismii. Brazilian Popular Music [series El, vol. 2. Philips 6328 302.

Brazil-Roots-Samba. Rounder CD 5045. Brazil: Forrd. Rounder CD 5044. Brazilian Popular Music, [series I ] vols. 6-8.

Continental 1-54-404-002; Tapecar LP- PWOOI; Tapecar LP-PF-002.

Brisil en fire: Batucadas et musique du nordesteBrazilian Folk Festivities: Batucadas and Music of the North-East. Playasound PS 65098.

Byrne, David, comp. Beleza Tropical: Brazil Classics I. Luaka BopIWmer Bros. 9 25805-2.

_, comp. 0 Samba: Brazil Classics 2. Luaka BopISire 9 26019-2.

Carnival in Rio. Olympic 6144. Coelho Neto, Marcos. Maria mater gratiae

(hino a 4). Mestres do barroco mineiro (sdculo XVIII). Philips 6747 3 14.

Gil, Gilbexto. Nightingale. Elektta 6E-167. - and Jorge Ben. Gi6Jorge. Verve 314 5 12 067-2 Gomes, Antonio Carlos. I1 Guarany. Voce48. -. Lo Schiavo. Voce-39. Gomes da Rocha, Francisco. Novena de nossa

Senhora do Pilar. Mestres do barroco mineiro (sdculo XVIII). Philips 6747 314.

Gonzaga, Luiz. Asa branca. M6dia 7 GLO 137 1400.

In Praise of Oxald and Other Gods: Black Muric OfSouth America Nonesuch H-720%.

0 s ~ u o s . Charasfmnr BmziL Nunbus M 1422 Jungle Rhythms. Olympic 6150. Lobo de Mesquita, Jose Joaquim Emerico.

Antifona de nossa senhora. Mestres do barroco mineim (skculo XVIU)). Philips 6747 3 14.

. Missa en mi bemol. Mestres do bamco mineim (s6culo XVLU). Philips 6747 314.

Luiz, Nonato, and T15lio Mourlio. Carioca. Milestone MCD-9214-2.

Maria, Tania. Piquant. Concord CJP-15 1. M- M e Elegibo. -0 539 855-2 Mestres do barroco mineiro (sdculo XVIII).

Philips 6747 314. Nascimento, Milton Courage. A&M 064 608%. -. Milton. A&M SP 461 1. -. Sentinela. Brazilian Popular Music

[series II], vol. 9. Ariola 201 610. Nunes Garcia, Jod Maurlcio. Mntr'nas de

f i d o s . FunarteLP 3.56.404.018. -. Mktodo de pianofone do comptndio de

mlisica. Funarte LP 3-56-404-01 1. __. Requiem Mass. Black Composers

Series, vol. 5. Columbia M 33431. Olodum. Revolution in Motion. World Circuit

WCD 031. Parreira Neves, Idcio. Credo. Mestres do

barroco mineim (skculo XVIII). Philips 6747 3 14.

Quinteto Negro. Qw?eto Negm. JZthuicB 6146. Ribeiro, Roberto. Fala meupovo. Brazilian

Popular Music [series a, vol. 5. EM1 Odeon 31C 062 421208.

Samba Session: Baiiio, Afoxk, Bossa Nova, Fond, ee. WH MCWH 30000 RM. Cassette.

Sulsbriick, Birger. Latin American Percussion 2: Brazilian Rhythm Instruments. WH Rytmisk Bibliotek KWH 29822l2 RM. Cassette..

-. Latin American Percussion 3: Cuban and Brazilian Rhythms. WH Rytmisk Bibliotek KWH 2982213 RM. Cassette.

Carriacou. See Grenada

Cayman Islands Under the Coconut nee. Original Music

OMCDO25.

Colombia Afro-Hispanic Music from Western Colombia

and Ecuodox Folkways FE 4376. Cumbia cumbia 2: Lh clpoca doraah de

cumbias colombianas. World Circuit WCD 033.

Durh, Alejandro. Alejandm Durcin interprets a Escalow Cantos vallenatos. Fuentes D16097.

In Pmise of Oxald and Othei Go&: Black Muric~MAmerica . N~oesuch H-72036.

Meza, Lisandro. 'Lisandro 's Cumbia ': Sabanem King of Colombia. World Circuit WCD 026.

Toto la Momposina. Colombia A.S.P.I.C. X 55509.

Costa Rica Calypsos: Afro-Limonese Music of Costa Rica

Lyrichord LYRCD 7412.

Cuba Azpiazu, Don. Don Aqoiazu. Harlequin HQ

CD 10. Brouwer, Leo. The Classics of Cuba. Musical

Heritage Society MHS 3839. Cachao y su Orquesta. Descargas cubanas.

Maype CD-122. Caliente=Hot: Puerto Rican and Cuban

Musical Expression in New York New World NW 244.

Candido. Candido. ABC-Paramount ABC- 125.

_. Drum Fevex Polydor PD 5063. _. Latin Fire. ABC-Patamount ABC 286. Celina y Reutilio. Rezos y canros guajims.

Ansonia HGCD 1392. Chappotin. Chappotin y sus estrellas. Antilla

CD-594. I

(continued on 8)

0 0 D

3ALmAI 4riicm~Amrricm5

,!ufin-Amcriws and Caribbean Music6

hemclioas

-0 1995

CBMRQT*PP

Dincror S m e l A. Floyd J

Associate Directo and C~)rdbwmr of Pu6?ip&

W h a J. k i w r

Cosrdinofor of Pmgram

Morris A. Phibbs

tibrarim andArcht Suzanne Flandresa

Pmjm Coord i~~ i

I Carlos Plores

Assisral~t M the Arckr Marem Sueiro

Pnblicariom Speciorrsr TR- V. Ford

GRI&C Designn Aiie

I C- illwae'en 019% Axie Ereel

Copies of ffiIW,an .Vnif&le fne of charge. To ~se ive your im or roinfmmusofachangc - af acW5s, send your name and illlmess to

Kdindal Centa for

Black Music Researclr Columbia CoIlege

1 600 S. Michigan Ave. Chicago. lL

artides about the black music of the

Indies and Latin

Recordings (continuedfrom 7)

Cuban Counterpoint: History of the Son Montuno. Rounder CD 1078.

The Cuban Danzdn: Its Ancestors and Descendants. Folkways FE 4066.

Cuervo, Caridad. Hoy canto a Cuba. Orbe ARS 17025.

D'Rivera, Paquito. Paquito D'Rivera Presents 40 Years of Cuban Jam Session. Messidor 15826-2.

Les danses des diem Ocora C 559051. Fernhdez, Nohema. Caribbean Rhythms for

Piano. Protone PRCD 1107. Guaguancd Vol. 2. AntiIla CD 595. Idcae. The BestofImkez. ColumbiaCK57719. . Irakere. Columbia JC 35655. Isidr6n, Chanito, y Las Guitarras de Ojeda.

Ddcimas Guajiras. Rumba R-55554. Cassette.

El jazz cubano. World Pacific CDP 0777 7 80599 2 9.

Jungle Rhythm. Olympic 6150. Le6n. Tania. Indigena. Composers Recordings

CD 662. Machito. Mwho macho. Pablo PACD2625-712-2 Mendoza, Celeste. Cuba. A.S.P.I.C. X 55516. Muiiequitos de Matanzas. Rumba cdiente

88/17. Qbadisc QB-9005. Patato. Masterpiece. Messidor 15827-2. Puebla, Carlos. Cuba: Songsfbr Our America.

Paredon P-1018. Puente, Tito. Master nmbalero. Concord

Picante CCD-4594. Rico, Filiberto. Rico's Creole Band:

1931-1937. Harlequin HQ CD 31. Roldsn, Amadeo. Ritmica No.1, for Wind

Instruments and Piano. Angel 35105. . Ritmica V. Tangazo: Music of Latin

America. Argo 436 737-2.

Sanfamda, Mongo. Mongo's Way. Atlantic SD 1581.

-. Red Hot. Columbia JC 35696. . Upfmm the Roots. Atlantic SD 1621. -. Ihe IWennelopr Man Milestone M-47012 . Dizzy Gillespie and Toots Thielemans.

Summertime. Pablo Live D2308229. Septeto Anacaona and Ciro Rimac. 1936-1937.

Harlequin HQ CD 27. SeptWs cubanos: sones de Cuba. Corason

MTCD11314. Sulsbriick, Birger. Latin American Percussion

1: Cuban Rhythm Instrumems. WH Rytmisk Bibliotek KWH 2982211 RM. Cassette.

Dominican Republic Ah-Dominican Musicfrom San Crisfdbal,

Dominican Republic. FoIkways FE 4285. Caribbean Island Music. Nonesuch H-72047. Caribbean Revels: Haitian Rara and

Dominican Gaga. Folkways CD SF 40402. Cmdle of the New World: Musicfrom the

Dominican Republic. Folkways FE 4283. Expresi6n Joven. ;La horn estd llegando!/The

lime is Coming! Paredon P-1025. Guandulito y su Conjunto Tipico Cibaeiio.

Me&ngues. W S A L P 1517. Henriquez, Tatico. 20 Lxitos. Bachata B-6007. The Island of Espafiola: Music from the

Dominican Republic. Folkways FE 4282. The Island of Quisqueya: Music from the

Dominican Republic. Folkways FE 4281. Merengwsfrom the Dominican Republic.

ry l ichordLLCT7351.~ Songsfrom the North: Music from the

Dominican Republic. Folkways FE 4284. Viloria, Angel. Merengues, voL 3. Ansonia

ALP 1208. .

. Suite de "La rebambaramba." Tangazo: Music of Latin America. Argo 436 737-2. DUkh Antilles. . Three Small Poems for Orchestra. J. Valdes, A. Roldan, H. Villa-Lobos.

See Netherlands Antilles Melodiya 33 D 014563-64.

-. TWO Ritmicas. Concert Percussion for Ecuador Orchestra. Mainstream MSl5011. Afro-Hispanic Music from Western Colombia

Rubalcaba, Gonzalo. Rapsodh Blue Note and Ecuado,: Folkways FE 4376. CDP 7243 8 28264 2 2. In Praise of Oxald and Other Gods: Black

Szndova/~.~(~m)CiffPGRD9761. Muric ofSouth Arne& Nonesuch H-72036.

French Guiana The Spirit Cries: Musicfmm the Rainforests of

South America and the Caribbean. Rykodisc RCD 10250.

French West Indies LesHarimB Rouges. LesAdIes Hibiscus 11044. Malavoi. L'autre style. CocoSound 88052-2.

Grenada The Big Drum Dance of Carriacou. Folkways

FE4011.

Guatemala Music OfGuatemah, WL 2. Folkways FE4213. San Lucas Band. Music of Guatemala. ABC

COMS-9001.

Guyana Dahlia. Chants traditionnels. Bleu Caraibes

82819-2. Ti SClks. Ti Sil2s. Poli Disc 397514. Cassette. Traditional African Ritual Music of Guyana.

Folkways FE 4238.

Haiti Atis Indepandan. Ki sa pou-n fe?/U7har Is 80

Be Done? Paredon P-1031. Augustin, Frisner. The Drums of Voudou.

White Cliffs ISBN 0-941677-46-X. Book trade edition, Cassette.

Calypso-Meringues. Folkways FW 6808. Caribbean Island Music. Nonesuch H-72047. Caribbean Revels: Haitian Rara and

Dominican Gqga Folkways CD SF40402. Cuevas, Lolita. Haitian Folk Songs Sung by

Lalita Cuevas. Folkways FW 6811. Divine Horsemen: The Voodoo Gods of Haiti.

Lyichord LLCT 7341. Cawtte. Dorival, Althiery. An Ba Tonelle. Mini

Records MRS 1072. Drums of Haiti. Folkways FE 4403. Duroseau, Fabre. Haitian Piano with Fabre

Duroseau. Folkways FW 6837. Folk Music of Haiti. Folkways FE 4407. Jean-Baptiste, Nemours. Mu8ical Tour of

Haiti. Ansonia HGCD-1280.

Jungle Rhythms. Olympic 6150. Lamothe, Ludovic. Danza Number Four. An

Anthology of Piano Music by Black Composers. Opus One 39.

Magnum Band, La Seule Difference. The Best in Town. TIDA.

Meringue. Corason COCD 107. Meringues and Folk Ballads of Haiti.

Lyrichord IbX3T 7340. cbselte Pasquet, Dadou. Islam . . . ~ a o d i e Makers

MMICD- 102 1. - . Live at ~erklie! TIDA/Burkelan 1001. Sicot, Weber, Ensemble. Haitian Merengues.

Ansonia ALP 128 1. Tabou Combo. 8th sacrement. Mini Records

MRS 1044. -.Anthology Vol. N (1979-1986). Mini

Records MRSD1019. Voodoo Ceremony in Haiti. Olympic 6113. Voodoo Trance Music: Ritual Dnuns of Haiti.

LyrichordLU3T7279. c%em.

Honduras The Black Caribs of Honduras. Folkways FE

4435.

Jamaica Abyssinians, The. Satta Massaganu. Heartbeat

CD HI3 120. Alexander, Monty. Jamento. Pablo 2310 826. Bennett, Louise. Jamaican Folk Songs Sung

by Louise Bennett. Folkways FP 6846. Black Slate. Black Slate. Alligator AL 8301. Black Uhunr. Chill Out. Island IL 9752. Bongo, Backra and Coolie: Jamaican Roots,

Volume I . Folkways FE 4231. Bongo, Backra and Coolie: Jamaican Roots,

Volume 2. Folkways FE 4232. Burning Spear. Live. Island ILPS 9513. . Living Dub. Volume One. Heartbeat CD

HI3 131. Caribbean Island Music. Nonesuch H-72047. Cliff, Jimmy. Give the People What They

Want. MCA-5217. - . In Concert, The Best of Jimmy Clig RepriseIWamer Bros. MS 2256. . ihe H& They Come. Mango SMAS-7400.

(continued on 10)

Recordings (continuedfrom 9 )

-. U n l m W a r n e r Bms. MS 2147. Drums of Defiance: Jamaican Maroon Music.

Folkways SF CD 40412. Grant, Eddy. Killer on the Rampage. Portrait

B6R 38554. . My Turn to Love you. Epic JE 36522. Irma Circle. Everythhg is Greot. IsLvld ILPS 9558. Intensified! Original Ska 1962-66. Mango

MLPS-9524. John Crow Say: Jamaican Music of Faith,

Work and Play. Folkways FE 4228. The Kmg Kong CompiMon Mango MLPS %32. Kingston Town: 18 Reggae Hits. Heartbeat CD

HB 82. Lititz Mento Band Dance Music and Working

Songsfrom J&a Weltmusik SM 1512-2. Marley, Bob. Chances Are, Cotillion SD 5228. . Kaya. Island ISLPS 9517. -. Legend: The Best of Bob Marley and The

Wailers. Island 90169-1. _. Live. Island ILPS-9376. -. Nany Dread. Island ILPS 928 1.

. Survival. Island ILPS 9542. - -. Uprising. Island ILPS 9596. Mighty Diamonds, The. Right E m . Vugin PZ

34235. Mowatt, Judy. Look at Love. Shanachie 43087. Pamgam, The. The Paragom. Mango MLPS %3 1. Reggae Sunsplash Live. MCA MCAD-10706. Riley, J i i y . t$&nDriven Mango MLPS 9671. Roots of Reggae. Lyrichord LLCT 7314.

Cassette. Rudies AU Round Rude Boy Recorrlr 1965-1%7.

Trojan CDTRL 322. Shabba Ranks. Rough and Ready, Vol. 1. Epic

EK 52443.

. Mama Africa EM1 SO-17095. -. Mystic Man. Rolling Stones COC 391 11. Wailers, The. Catch a Fire. Island SW-9329. Wailing Souls. Wild Suspense. Mango MLPS

9523. Watch How You Flex!: More Reggae Dance

Hall Killers. Shanachie 45002.

Lesser Antilles Vifstindien: Smd Antillem. Caprice CAP

2004.1-2.

Martinique. See French West Indies

Mexico Santana, Carlos. Lotus. CBS 66 325. _. Greatest Hits. Columbia JC 33050.

Netherlands Antilles Tmba, Cuarta and Ka'i. Original Music OMC

202C. Cassette.

Panama Cordem, Roque. Concerto for Violin and

Orchestra /Eight Miniatures. Black Composas Saies, voL 4. Columbia M 32784.

-. [Duo Sonata?]. Delphin and Romain at Fisk University Chapel. Cassette.

-. Quintet for Flute, B-jkl Clarinet, Eolin, Cello and Piano. Turnabout TV-S 34505.

Perez, Danilo. The Journey. Novus 63166-2. Street Music of Panama. Original Music

OMCD 008.

Skatalites, The. Scattered Lights. Top-Deck DO.... 1 c1.m

CDB 1000. Chocolate. Peru's Master Percussionist. The Spirit Cries: Music from the Rainforests of Ly;ichord LYRCD 7417,

South America and the Caribbean. Rykodisc RCD 10250.

Third World. You've Got the Power: Columbia Pllel'tQ Rico FC 37744. B-, Ray. Taboo. Chmrd Picante CCD-4601.

Toots and The Maytals. Funky Kingston. Island Caliente=Hot: Puerto Rican and Cuban ILPS 9330. Musical Expression in New York New

Tosh, Peter. Bush Doctor. Rolling Stones COC World NW 244. 39109. Canaria y su grupo. P h . Ansonia HGCD1232

-. Equal Rights. Columbia 34670. Fefita La Grande. Todos 10s hombres son

buenos. Jos6 Luis CDJLR-160. Morel Campos, Juan. Bellos ojos. An

Anthology of Piano Music by Black Composers. Opus One 39. - . Danzas puertomqueiias. Caribbean

Rhythms for Piano. Protone PRCD 1107. Palmieri, Eddie. Palmas. Elektta Nonesuch 9

61649-2. Pleneros de la 21, Los, and Conjunto Melodfa

Tropical. Puerto Rico. Puerto Rico, mi tierra natal. Shanachie 65001.

Puerto Rican Music in Hawai'i. Folkways CD SF 40014.

Rodn'guez, Pete. I Like it Like That (A mime gusta ad). Alegre SLPA 8550.

Sanchez, David. The Departure. Columbia CK 57848.

Son del Barrio. Son del Barrio. AVL94156CD.

St. Lucia Musical Traditions of St. Lucia, West Indies.

Folkways CD SF 40416.

The Spirit Cries: Music from the Rainforests of South America and t& Caribbean. Rykodisc RCD 10250.

Trinidad and Tobago Calypso Calaloo. Rounder CD 1105. Cult Music of Trinidad. Folkways FE 4478. Lord Invader. Calypso with the Lord Invade,:

Folkways FW 6914. %

The Music of Trinidad. National Geographic 3297.

The Native Steel Drum Band. Steel Drum3 Everest 2064.

Sir Lancelot. Trinidnd is Changing. Heritagc HT321.

Soca Session. WH GR 30136K. Cassette. Spiritual Baptist Music of Trinidad. Folkways

FE 4234. '

Trinidad Panharmonic Orcbtra. Steel Band. Folkways FW 6865.

West Indian Folksongs for Childrrn. Scholastic SC 7744.

St.Thomas. See Virgin Islands of the United States

Surinam The Creole Music of Surinam (Dutch Guiam).

Folkways FE 4233.

Venezuela The Music of Venezuela. High Water LP 1013.

Virgin Islands of the United States Adams, Alton Augustus. Spirit of the U.S.

Navy. Black Music: The Written Tradition. CBMR001.

-. The Governor's Own. The Pride of America: The Golden Age of.the American March. New World NW 266.

Imagi. Bad 2 the Bone. [Bmwn Sugar Productions] 0023-CD.

Niles, Joseph. Go on to Glory. RED-CD-1. 94 Calypso and Brass: Collage. Brown Sugar

Productions BSPCD-6444. Regenerated Singers. Let's Go Forward. R.S.-

001314629 92.2CD. Rising Stars Youth Steel Orchestra. On Tour

with the Rising Stars Youth Orchestra. Temtorial Court CAS0004. Cassette.

Under the Coconut Tree. Original Music OMCW25.

Unique Touch. No lime for Second Best. CAR0010.

0 ' .

CF: To what do you attribute the preservation of the African religion, music, and culture in Cuba, that is, Yoruba religion, Abakd

Muiiequitos (continuedfrom 14)

Ministry of Culture. During the July 1994 visit of the

Muiiequitos de Matanzas to Chicago, I had an opportunity to interview Mr. Villadares- Pombo. The excerpts that follow are taken from our intemiew.

CARLOS FLORES: How and when did the Muiiequitos begin to incorporate certain aspects of Yoruba religion into their show?

ARMANDO V~LADAUFS-POMBO: The religious phase of the Muiiequitos' show began when I became involved with the group in 1989. I indicated to the group that the rumba had become very sophisticated around the world and that in order for the group to go out of. Cuba we had to develop a spectacular show that would include the various forms of the original rumba as well as a program that demonstrated the Yoruba religion. We wrote a program called "Patalcin," which translates to the legends and history of the African ancestors. In 1989 the group incorporated the bata and abakwi drums. Abakuii societies were exclusively male htemal organizations brought to Cuba by the Carabali slaves from Nigeria. (Bata drums come directly from the Nigerian Yoruba people who were brought to Cuba during the slave trade. The bati are double-headed drums used primarily for religious purposes. They are similar in shape to an hourglass, with each head being a different size and pitch.)

.

societies, and so on?

AW: There is at least one secret as to why the Cubans have maintained and preserve their African traditions for over four hundred years, and even today the music is being played in the same manner it was brought by African slaves several centuries ago. The secret is that it has been passed down from fathers to sons, generation after generation. For example, the province of Matanzas has two neighborhoods that have maintained these African musical

traditions; one is called Simpson, and the other is called La Marina. Havana has Belen; Santiago has Barrio Losollo. If you were to walk in these neighborhoods, you would think you were in Africa.

The Muiiequitos were visited by the Ambassador of Nigeria at the Provisional Museum in Matanzas, Cuba, and the Muiiequitos performed the Yoruba program of their show. The Ambassador was delighted with the performance and commented that the Muiiequitos had transplanted him back to Nigeria and that the Yomba demonstration was identical to what the African ancestors brought from Africa. The Ambassador also commented that this music is no longer being played in the same manner in Nigeria.

CF: Since its inception, has there ever been any hostile or discriminatory action by the majority of the society against the rumba?

A&: The rumba originated in Matanzas in the earlier part of this century. In some respects, the rumba was considered a taboo, especially when it was associated with the African religion. Cuba was predominantly Catholic, and the Church prohibited the practice of other African religions. There were laws passed in the 1930s and 1940s prohibiting rumba playing. These laws were strictly enforced by the police to repress any conga-drumming associated with the rumba. In the 1950s rumba playing was permitted in various neighborhood outdoor parks, but never in theaters or at high society functions. Since 1959, the rumba is allowed to be played throughout Cuba. Today, the music of the Muiiequitos is heard in all of Cuba's best concert halls.

CF: Why has the role of women been limited or non-existent in rumba playing? Why have the Muiiequitos incorporated some women to participate in their performance?

AVP: When the Mufiequitos began, there were eight men and no women. Women began to be incorporated in the group when the need arose to actually dance the rumba. One of the characteristics of the rumba are its dances, especially the guaguanco, where the male

to maintain many of the rich cultural traditions handed down by their African ancestors. The Muilequitos de ~ a & is one of the many artistic p p p s in the Americas that have presewd the language, religidn, music, and dance of our AEcan ancestors.

Discography The following is a partial listing of the recordings made by the Muilequitos de Matanzas.

pursues the female and tnes to possess her. In the yambu, the fundamental of the dance is that the female is showcased more than the male. lbenty-seven years ago, Diosvaldo Ramos became the fwst dancer of the Mufiequitos, but there was a need to have a female dancer to accompany him in the dances. That is how Ana and Vivian were incorporated in the group. In rumba groups or groups that practice Yomba religion, there a k no women percussionists. In the YON^^ religion women are not allowed to play the baa drum; the impediment of not allowing women to participate in the drumming rituals came from the mandates of the religion.

Over four hundred years ago, Afiicans -

were introduced to the Americas through the cruel institution of slavery. Today, many descendants of African slaves have managed

Cantar Maravilloso: The Rumba Originals. Globe Style Records CDORB 053,1990. Reissue.

Guaguanco: Con Papin y Sus Rumberos. Antilla Records 565. Reissue.

Guaguanco/ColumbidKmnbu. Vit~al Records 277, 1989. Reissue.

Gugraneo: Volume 2. Antilla Records 595, 1993. Reissue.

Rumba Caliente 8&/77. Qbadisc Records QB-9005, 1992.

Oyelos de Nuevo. Qbadisc Records QB-9013, 1970. Reissue.

Congo Ymnbumba Qbadisc Records QB-9014,1994.

province of Matanzas, the members would gathet in "I3 Gallo Bar," located in a neighborhood called Marina One day as they were drinking in the bar, the jukebox was playing a son (one of the oldest Afro-Cuban musical forms) by Arsenio Rodriguez, and they began to follow the music by beating on tables, glasses, and bottles. Viadares-Pombo states that ''people were so astounded with the rhythms being created by their playing that someone suggested starting a group, and the rest is history."

Initially, the group was called Guguanco Matancero. Their first album, recorded in 1953, included a song about a character in the newspaper

funnies. The album became such a hit that people began calling them the Mnfiequitos de Matanzas (funny figures from Matanzas). The group has recorded at least tweIve albums. Since the 1950s. several of the original

BY CARU)S FLOW members have been replaced, the majority of

THE RUMBA, according to Larry Crook, the new members are related to their

writing in Latin American Muric Review, is a predecessors. Today, the group continues to perform the classic rumbas: yambu, columbia,

secular danceImusic/poetic expression that and guguanco (three dominant styles of rumba music). The group also presents "Patakin," a performance that preserves the religious music

during the colonial time. and dance of the Yoruba, one of the primary The Mnfiequitos de Matanzas, Cuba's

critically acclaimed twelve-member drumming groups from West and Central Africa imported

and dancing ensemble, is a group that to Cuba.

specializes in playing the rumba. According to Armando Vinadares-Pombo was

ArmandoVilladares-Pombo, the group's artistic responsible for researching and writing the first 'Tatakin" for the group, which resulted in

director, the Muiiequitos de Matanzas began its performances in England, their first trip outside career in 1952. As dock workers in the Cuba Before ioinine, the Mufiepuitos de

Matanzas, & Viadares-porn& worked as an

CARLOS FMRES is coordinator of Project Knlndn at the actor, radio personality, and writer. For the last

Center for Black Music Research. He has aho designed twenty-three years he has spent most of his time cultrrml pmgrnms for orher organizntiom andschools. w&g for Cuba's (continued on 12)